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"The pianist sculpts silence within the flesh of the note. Her quest for meaning creates that rare feeling that music seems to know the interpreter better than she knows herself. The notes run free on the keyboard to reach the essence of music, which anyone can enjoy profoundly." - Le Figaro Anne Queffélec, unanimously considered as one of the most remarkable pianists of our time, enjoys international fame as well as an exceptional influence over musical life. After graduating at the Paris Conservatoire, she studied in Vienna, where Paul Badura-Skoda, Jorg Demus and especially Alfred Brendel respectively became her teachers. The audiences of the world would soon discover the charm and musical smartness of this great performer when she successfully won the International competitions in Munich and in Leeds. Towards the end of his life in 1924, Gabriel Fauré was celebrated as the leading French composer of his time, a central force in the resurgence of French music in the late 19th century that rose from a late romantic style, sought a fresh nationalistic voice and emerged, with the likes of Debussy and Ravel, in 20th century "Impressionism." Fauré's music spans this timeline and has been described as a bridge between Brahms and Debussy. Without question, the Violin Sonata in A major, Op. 13 is firmly in the repertoire, perhaps his most well-known and frequently played chamber work. The sonata marks not only Fauré's debut as a chamber composer, but, with Franck's famous violin sonata still nine years in the future, a new era of exquisite French chamber music in general. The 2nd Sonata op. 108 is a work composed in the summer of 1916 in Evian and finished in Paris in the fall. It shows some progress in the composer's writing technique thanks to his inner lyricism and shunning of virtuosity. The composer explores the possibilities of tonal language, remaining alien to the novelties of the time.